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So, if staccato dots are under a slur it always means soft rather than sharp staccato?

Also, now that you mention it, what is the purpose of a slur notation? Should I be able to hear a difference of the same eighth notes with slur vs. without? Could this help me with with pedal indications? I doubt it, since the slurs are often independent in bass and treble clef.

The context of the piece should guide you as to how sharp the staccato might be.

In measure 2 the slur means the notes aren't too disjointed. In speech you might separate words to point them such as, "Don't. Brake. And. Steer!", but they're still meant as a unit.

The purpose of a slur is to keep the notes together as a unit.

Could you tell the difference? Yes, but it might be very subtle.

Could it help with pedal indications? That's the subject of an essay. It can influence your decision as to whether pedal should be used. You can use pedal and still play staccato. It does sound different because of the changing attack on the next note.

Whenever it comes to pedal I believe only your ears and your good taste can determine the correct approach.

And no matter how much you respect the composer, his work is done and yours is still to do. You must decide what he intended - whatever else is in the score whether by his hand or that of an editor - and you must decide how much of that you'll follow.

Whatever Wanda Landowska may say ("You play Bach your way and I'll play him his!") you must always play your way. Honesty is the best policy. Say it, believe it and mean it.

Ah I see. I can figure out what that is. However I don't understand how you would know if you need to play a sharp or a soft? Is that something you would know of because of the slur? Or the artist?

There isn't a simple answer. The best way is to get to know the piece, understand what the composer is trying to say, decide what you think is the best way to say that. Try a variety of ways and listen hard.

And no matter how much you respect the composer, his work is done and yours is still to do. You must decide what he intended - whatever else is in the score whether by his hand or that of an editor - and you must decide how much of that you'll follow.

Whatever Wanda Landowska may say ("You play Bach your way and I'll play him his!") you must always play your way. Honesty is the best policy. Say it, believe it and mean it.

Love it. But also great to have your full support. I sense a very unique arrangement comin' up.

I really love the harmonies in this but already straying on the timing a bit, by nature with some of the changes. I will try to contain it though with reason and put my best, honest foot forward.

Don't stray on the timing bit. I know you don't use a metronome but get the timing rock solid below tempo. That way you stay in control. As you come up to tempo let the music decide where it needs subtle alteration but know what it's altering from. You must stay in control and be ABLE to stay in tempo.

I know you don't use a metronome but get the timing rock solid below tempo.

I'm not opposed to trying out a metronome. Actually, now that you mention it, I believe this is precisely what I need to do. Particularly for Bach pieces.

I'm given it a whirl already, and will definitely be of help with some trouble spots. As well, tempo is often my Achilles Heel, so this may be just the ticket.

But, what is the real purpose of using a metronome? Is it just to fix some timing trouble spots? Or is it to practice with it so much that the overall tempo from start to end becomes subliminally engrained that I will somehow stay close to it when I turn it off? Or bit of both?

The metronome is a tool for practise. Time is the most important aspect of music. If you can keep time to an external source you'll be able to keep time with other musicians. If you can play to a set time you have the wherewithal to adjust the tempo to suit the music rather than your technique.

But, what is the real purpose of using a metronome? Is it just to fix some timing trouble spots? Or is it to practice with it so much that the overall tempo from start to end becomes subliminally engrained that I will somehow stay close to it when I turn it off? Or bit of both?

Slooow practice works wonders. Set your metronome to something that seems too slow and use it to keep slow and steady while you play through your piece. Then gradually increase the metronome speed. By the time you get back up to speed you will be amazed how well you can play your piece. That's how I use it.

Glad I asked. There is a lot more to this than I ever would have thought. Will put priority to this now among my practice.

What a great article. Particularly like this quote ...

'I am reminded of the great composer J.S. Bach, who when asked about his remarkable keyboard ability, simply said, "I just put each finger in the right place at the right time, and the keyboard plays itself."'

This piece is going to be the first time I test out my new strategy of learning the very final phrase of the piece first, and working all the way back to the start, phrase by phrase. My theory is, this way the piece should be strong from start to finish, and I should be playing better as it progresses, although the aim is overall quality.

_________________________
I love sight-reading! One day I will master it.

I tried the last bars first strategy too, Maechre, but it isn't perfect. I learnt a couple of pieces where the final pages were a cakewalk.

It's the climax that matters most to me. I'm approaching my Mendelssohn piece doing four bars a day and only those four bars. When they're good to go I move on to the next four and when I've been through the piece I repeat the process. I get a sense of the familiar when I get back to each four bar phrase, I'll have overcome the technical difficulties and I can memorise them again very quickly plus continue to give them close attention.

By the third cycle I can work in eight bar sections and start to marry them up without technical impediments or stretching the memory.

By the time the piece is in half-page sections I can knit them together easily and work on the overall effect without having much else in it to worry about.

But if the strategy is new for you it's as well to experience it so go with it and see what you find. Don't forget to log your experience and opinions at the time. You'll learn far more from it all and, if you share them, so will we!_______________

I see the middle two books are not currently popular. Do we have a better idea of the deadline for this recital? I may change to Op. 102 No. 1 if there are takers for three and five or if we can group the pieces into books.

i'm thinking to ask to be tentatively signed up for Op. 30 No. 1. honestly though I'm not sure I can learn this piece in time or that I will be able to play it well. it looks challenging! also, not sure if my arthritic hands can take this piece so would have to do a trial period to see how my hands hold out.

my recording would be very primitive as i have an old digital piano and an very simple digital recorder. would be a lot of static and not much dynamic range because of my old keyboard. would this be ok?

oh dear...so many reasons why I'm hesitant to do this!

there are a couple of other of the pieces I'm looking at if this one doesn't work out such as 38/1, 53/1, 53/4, 62/5, 67/2. But I'll practice 30/1 for a few days and see how it goes.